Title 歐文摘要

Author(s)

Citation 中國文學報 (1990), 42: i-iv

Issue Date 1990-10

URL https://doi.org/10.14989/177469

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Type Departmental Bulletin Paper

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Kyoto University SUMMARIES of THE JOURNAL OF CHINESE LITERATURE Volume XLII October, 1990 Edited by Department of Chinese Language and Literature Faculty of Letters Ky6to University

On the Origin of the Lyrical Poetry in the Five Syllable Metre (Ett- -ft)

Yfiko MATsUKA,6temon Gakuin University

This thesis suggests that the lyrical poetry in the five syllable metre are originated from the elegy. However, most studies find its origin in Yue Fu Xiang He Ge (geneJlgli"sk), the folk songs of Han (ec) dynasty. In this thesis, I attempt to approach the lyrical poetry uniquely regardless of its close relationship with Yue Fa (esne). Through studying the content, I try to reconstruct the formation process of the lyrical poetry in the five syllable metre. There are several remarkable characteristics in the theme of the five syllable lyrical "ancient poems" (iEEilfse). These are: 1. separaration of two persons (mostly among !overs); 2. sorrow at the passing of time (often connected with death); 3. homesickness ; 4. things that relate to a banquet. Among these characteristics, the theme "separation of two persons " is regarded as the most important. The unfulfi11ed love described in these poems shows its ritual origin as found in Shi Jing (kss) and Chu Ci (Xer). Similarly, the second and the third major theme of -i- the five syllable lyrical poetry also have a close relationship with ritual ceremony. In the case of the former, the sorrow of the passing of time always concerns with the death. For the later case, the ancient Chinese believed that the deaths would treat the land of livings as their homeland. Therefore, for both cases, we can easily trace their origins to the funeral. The fourth major theme, banquet, is developed from the songs of the banquet. Some historical articles suggest that in the later half of Hou Han (page), elegies were performed in every banquet in Luo Yang (zawa). Though we cannot clearly related this fact directly to the formation process of the five syllable lyrical poems, its importance cannot be easily neglected.

A Study of 's (gmb) Zeng-Da-Shi (igt.2tc-ft) in the Late Jian'An (e-tk) Era

Akira KAMEyAMA, K6chi University

The late Jian'an era is a very important period in the history of the Chinese literature. During this period, rnany major poets gathered around (gZl) and formed a literary group. This thesis will discuss Cao Zhi's four poems of the Zeng-da-shi (nggk) written in this period. Up until now, the poem " To Ding Yi and Wang Can (igTMIpt)" is commonly regarded as a poem written to one's friends only. I consider this explanation to be too simple and inaccurate. As a matter of fact, this poem was supposed to be read at 's (gec) banquet congratulating his triumphal return. Therefore, its chief aim was to admire Cao Cao's military achievement. From the reception points of view, this poem was meant to be appreciated by Cao Cao and his followers. The poem "To Ding Yi" (igTes) may well be said to have a similiar characteristic. However, the poet's motive was much more special since the poem displays so intimate an impression that it seems to have a function of assuring and strengthening the literary group's spiritual ties.

-ii- The two poems mentioned above were supposed to be appreciated by groups of people at a time. If we look back at the earlier stages of Chinese poetry, poems were appreciated more or less the same way, and this mode of poetic appreciation had not yet greatly changed until the late Jian'an era. In this period, the practice of writing poems for a specific individual was sprouting. The two poems " To Ding Yi " (ngTue) and " To Xu Gan " (tetspt) belong to this new mode of writing practice. Owing to the relatively long history of the established literary group, it's members' poems, which was written to be recited before the public, was more common and literally mature. Through examining Cao Zhi's four poems mentioned above, this thesis tries to prove that in the late Jian'an era, there has an im- portant change on the mode of poetic appreciation, and it tries to show how that change took place in the field of Chinese poetry.

La litt6rature du ÅqJu EÅr

Un point de vue sur la litterature du Shanshui LIJz}ÅqIYinyi wave a 1'6poque des Six Dynasties.

Mareshi SAITO, Universite de Ky6to

Dans la litterature chinoise, il y a beaucoup de fu touchant au theme de la retraite. En effet, 1'un des motifs des Chuci, qui represente une des origines des ftt, est le ressentiment contre 1'exil de la cour, c'est-a-dire, contre la retraite forcee. Les fu qui succbdent aux Chuci ont pour theme "le sage dans 1'adversite ff./Kv5kAL ", et sont aussi repr6sentatifs dans la litt6rature de 1'6poque des Han que les fu 6piques sur la chasse et la m6tropole. Mais, c'est depuis 1'6poque des Han post6rieurs que sont apparus les fu qui depeignent la vie a la retraite sans ressentiment. On peut consid6rer le vaei zhi fu raft.F.wt 6crit par Cui Zhuan eeX, qui v6cu a 1'6poque de Wang Mang Ias, comme la premiere ceuvre qui essaie de representer la vie a la retraite dans une douce qui6tude. On remarquera, en outre, que cette oeuvre suggere le printemps comme la saison de la retraite d'apres une citation du Lunyu. Zhang Heng itft (78-139), poete des Han posterieurs, a compos6

- 111 - deux fu sur la retraite, le Si xuan fu re¥,*an et le Gui tian fa emMwa. Bien qu'ils soient tous les deux classes dans la cat6gorie des fa sur "les vceux S"" dans le Wenxuan, il y a cependant une grande difference entre ces deux fu. Le dernier se distingue par la peinture nostalgique d'un paysage au printemps, qui entoure 1'ermitage dans le style 6pique, sans utiliser le caractere "xi 6", tandis que le premier d6crit un monde id6al d'apr6s le theme du fu sur "le sage dans 1'adversit6" et dans le style des Chuci. On decouvre ici le contraste entre la retraite satisfaite et la retraite iso16e. A la suite du Gui tian fu de Zhang Heng, Zhong-chang Tong iigftff (180-220) a exprim6 concretement la vie champetre sans souci dans le Le zhi lun geiiLkN :fa, puis, Zhang Hua itee (232-300) composa 6galement un Gui tian fu. Pan Yue tsff} (247-300), poete des Jin Occidentaux, a, pour sa part, redig6 deux fu sur le theme de la retraite, le Qiu xing fu JeScfime et le Xian ju fu eeEem. Si le premier insiste sur la tristesse de 1'automne et sur le vceu de se retirer de la cour dans le style des Chuci, le dernier decrit la vie satisfaite de la retraite dans un style imitant les fa sur la m6tropole. On peut athrmer, des lors, que les fu sur le theme de la retraite satisfaite forment d6jti un nouveau courant litt6raire qui s'oppose ti celui des ceuvres dans la tradition des Chuci. Pour les gens qui vivaient au moyen-age chinois, la retraite signifie non seulement se retirer du monde public, mais aussi construire le monde priv6, c'estA-dire le "Ju E". C'est dans ce "lu" qu'ils d6couvrent "le paysage Mz]Åq" qui les entoure, et commencent a exprimer sa beaut6. Ainsi, le concept de la litt6rature du "Ju" permet-il de mieux comprendre le cours de la litt6rature m6dievale .chinoise.

Yang Cheng-zhai atues 's poetry

Atushi NisioKA, Ky6to University

Yang Cheng-zhai, a poet of Nan-Song MiR dynasty, was known for his peculiar styles which made him stand out in the history of Chinese classical poetry. In this paper, I shall review his nine compilations of poetry and inquire into the change of his style and

-IV- analize the specific characteristics of his style which is known as Cheng-zhai-ti tuesme. Yang Cheng-zhai's earliest works Which were compiled into the Jiang-huv'i '; maE are, as he himself confessed, no better than imitation of his predecessor's works, though the personification of nature is an important feattire in his techniques, it is not anything unique because it was also frequently used by his contemporaries. Concerning the form of his poetry, the use of Qi-yan-jue-ju (the seven-character quatrain) which was known to be his strong poiht was much less frequently used in Jiang-hu-ji as in his second compi- lation of poetry ling-xiv'i iljasE. Jiang-hu-ji can be regarded as Yang's works during his apprenticeship. Fundamentally, there had not been much great changes of his style since his second compilation of poetry. The distinctive features in Yang Cheng-zhai's poetry are: 1. the use of personification;2. witty or dexterous simile;3. humor;4. sharpness in observation;5. the use of daily experiences in his creation. I shall focus on these five points and comment on his poetry. Generally speaking, Yang Cheng-zhai always used his everyday life as material for his poetry, although such a style had already existed since the Tang pt dynasty, Yang was the poet who made the best and most use of it. Moreover, he did not touch on the view that there was a Creator behind all forms of life and the world, such a view can often been seen in the works of his contemporary poets. Su Dong-po maMilff, for example, wrote that life was but "children's play" in which the Creator eternally changed his destiny. There is, however, no such expression in Yang's poetry. He was rather more interested in the innocence of children in everyday's life. And unlike other poets in the Song dynasty, Yang did not like to discuss or argue. The main theme of his poetry was fun and wit in daily life. Yang was particularly skillful in sketching a scene in daily life. His poetry did not always impress or move the readers. But in terms of the history of Chinese literature, the use of everyday life had almost become excessive in the Nan-Song dynasty, and poets during or after the Yuan Jii dynasty had returned to the lyricism as in the poetry of the Tang dynasty. So we can conclude that Yang's works represented the turning point of classical poetry from a more narrative to the lyrical mode. -v- Conscious Activity the Literary Criticism of Wang Guo-wei (Iav*e)

Ry6ichi INAMI, Shiga University

Wang Guo-wei claims that the most important element of literature is feelings with a natural tongue. At first sight, it seems to be a common knowledge. However, writers are easily conformed to the stereotyped method of their contemporaries, it is quite diMcult for a writer to express one's feelings freshly and unconventionally. Wang Guo-wei also emphasizes the importance of individual feelings which reflect the truth of "particulars" regardless of its unabsolute- ness and temporariness. Wang has once attempted to search for a "universal" truth through studying German philosophy, however he gives up finally. In his research of Chinese literature, particularly Ren lian Ci Hua (.A.fe7 ass) and Song Qu Kao (fiRjttuan J2;), he attaches great importance to serious feelings which appear in every fragment of real life. In Song Yuan Xi Qu Kao, he declares: "They (Yuan playwrights) merely copied down the emotions in their breasts and recorded the circumstances of the age, with the result that frequently genuine truths and an elegant style can be found in their works."i)

1) translated by Joey Bonner.

REVIEWS : " Ritual Theatres in China", Tokyo, 1981. "Lineage and Theatre in China", Tokyo, 1985. "Village Festivals in China, backgrounds of local theatres" Tokyo, 1989. by Issei TANAKA. Ken KOMATSU, Toyama University. Bunky6 KIN, Kei6 Gizyuku University.

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